Mavi Gri - Sevda Türküsü - Chord

Key C major – A minor Chords Am, Fmaj7, Dm Easy key G (capo 5)

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Capo 0

Fmaj7  Dm  Am  Am

Fmaj7             Dm
 Hasret dağımda karlar boynumu aşınca
   Am
 Sevenlere yakmak için, bir sevda türküsü başımda
Fmaj7                Dm
 Nasıl inandım, sana bağlanmışım en başında
      Am
 Hani katilim ol diye mi, şu genç yaşımda

 Kalakaldım acıyla

Fmaj7
 Kor alevlere yandım ecele koşarak
Dm
 Ne dediysen yaptım acele kaçamak
Am
 Beni böyle mi yıktın a zalim
 
 Ahım var sana bile bile

Fmaj7
 Telef oldum yaka paça dibe batarak
Dm
 Rezil oldum ele güne sana uyarak
Am
 Yeter artık azalmadı mı bana kastın

 Neydi günahım

Fmaj7
 Uyurdum uyandım sensiz
Dm                 Am
 Başka kollarda aramak mı

 Yapamam kopamam senden

Fmaj7
 Bu kalp seni sevdi nedensiz
Dm                       Am
 Boş yere ellerden medet ummaz, olamaz

End of song Play again?

Mavi Gri - Sevda Türküsü Tabs

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Harmony analysis

Mavi Gri – Sevda Türküsü: key and chord analysis

The song opens on Fmaj7 and ends on Am. Its chords belong to both C major and Am, so every chord below is read both ways.

Major view

C major

Brightness rank 2/7 (bright)

Characteristic notes

7 = B (leading tone, pulls home)
4 = F (the note that leans on the 3rd)

Minor view

A minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = F (the minor's melancholy)
b7 = G (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the A minor side because it comes to rest on Am and Am is heard 8 times while C never appears. That is an interpretation, not a rule — the same chords are just as valid seen from C major, and switching between the two views is exactly where the practice value lies.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to C or to Am; comparing both readings is a practice of its own.

Every chord of the key, listed 1 to 7 separately for each key. Chords played in the song show how often they appear; chords from outside the scale sit next to their own degree.

Seen from C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	—
ii	Dm	Supertonic — prepares the dominant	D · F · A	7×
iii	Em	Mediant — a tonic-family shade	E · G · B	—
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	—
IVmaj7	Fmaj7	Subdominant — moves away from home	F · A · C · E	7×
V	G	Dominant — strongest pull home	G · B · D	—
vi	Am	Relative minor — the melancholy side	A · C · E	8×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	8×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	—
iv	Dm	Subdominant — moves away from home	D · F · A	7×
v	Em	Minor dominant — soft pull	E · G · B	—
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	—
VImaj7	Fmaj7	Submediant — warm colour	F · A · C · E	7×
VII	G	Subtonic — steps back to the tonic	G · B · D	—

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 3 different chords appear 22 times in total; 3 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.

Chord movement

Dm Am Cii → vi Amiv → iminor plagal ×7

The move to watch is Dm → Am, heard 7 times. From the Am side it is iv → i (minor plagal: deep and melancholic); from the C side it reads ii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.
Over Fmaj7, land on F, A, C — the chord's own tones always sound right on strong beats.
Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.

The song on the circle of fifths

Played in the song — chord of the key
Played — the minor's harmonic V or a secondary dominant
Played — borrowed or outside chord
Home region: IV–I–V and ii–vi–iii

Empty slices are chords the song doesn't use.

Capo and easier keys

With C major shapes

No capo — open C shapes
Capo 3 + A shapes
Capo 5 + G shapes

With A minor shapes

No capo — open Am shapes
Capo 5 + Em shapes
Capo 7 + Dm shapes

Easiest keys on guitar

5 semitones down · capo 5 keeps the original pitch

The song's harmonic story

Starting on Fmaj7, the song gives away its key from the very first bar. The chords that keep coming back are Am, Fmaj7, Dm; read them as vi–IVmaj7–ii in C or i–VImaj7–iv in Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm → Am (ii → vi in C, iv → i in Am): minor plagal — deep and melancholic. Ending on Am, the song seals Am as home.

This analysis is generated from the song's chords by akorculuk's harmony engine using consistent rules. When you change key, the degrees stay the same; only the chord names change.